Concerto For Two Pianos And Orchestra In E Major 1823

Lindeman, a musicologist, traces and defines the historical development of the concerto form as it passed from Mozart to succeeding generations. He then assesses Beethoven's contributions, and examines the classical model of the form in the early 19th century by overviewing several early romantic composers' works. Subsequent chapters analyze and assess the responses of five precursers of Schumann, whose work offers a synthesis of radical experiments and traditional tenets. He concludes by suggesting that concertos of Lizst offer a road into further developments of the genre in the second half of the century. Illustrated with bandw portraits of composers and excerpts from musical scores. Annotation copyrighted by Book News, Inc., Portland, OR

A History of the Concerto may be read from cover to cover, but readers may also use the extensive index to focus on specific concertos and their composers. Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text.

Britain, long revered for its choral music and partsongs, had largely neglected art songs since the Elizabethan era. The middle of the nineteenth century witnessed efforts to revive the genre, particularly in the works of Sir C. Hubert Parry and Sir Charles Villiers Stanford. The following generation, including the Scottish composer Hamish MacCunn (1868–1916), built on the foundations laid by Parry and Stanford and served as the bridge to the vocal music of Ralph Vaughan Williams, Sir Edward Elgar, Ivor Gurney, John Ireland, and ultimately Benjamin Britten. Though best known for his Scottish-influenced compositions, MacCunn composed over 100 songs that, free from national constraints, are some of the most refined and sophisticated examples of his music. Almost no modern editions of MacCunn’s song exist, though many were published during the composer’s lifetime. The current two-part edition presents the composer’s 102 extant songs. Part 1 contains 53 individual songs; Part 2 presents the songs that were first published as small collections.

Actual pagination: xv + 153 pp.

Enthält: Bläserquintette Nr. 1 in F-Dur ; Nr. 2 in Es-Dur.

Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field.

The Symphonie pour orgue et orchestre, opus 42[bis] has had spectacular moments in its history. In1880, the future king of England, Edward VII, requested that Widor compose a grand work for organand orchestra to be performed in London?s Royal Albert Hall. The American premiere in 1919, withthe Philadelphia Orchestra conducted by Leopold Stokowski and the great Wanamaker organ,attracted an audience of about 12,000 people. Using movements from his second and sixth symphonies for solo organ as the basis for this work,Widor created a masterpiece that launched a renaissance in the organ/orchestra combination. Thispremiere edition is based on Widor?s autograph manuscript as well as copies that he had made andwhich carry emendations and corrections in his own hand. The introduction includes details about theorigin of the Symphonie, manuscript sources, revisions, early performances, and performanceguidelines. Published in full score with separate organ part (and orchestral parts available byrequest), the edition reintroduces this legendary tour de force to the repertory for organ and orchestra.